Page 283 - Hamlet: The Cambridge Dover Wilson Shakespeare

176 N O T E S 2.2.
Ham. The sense too is different, to the bewilderment of
some critics. But the absolute 'how like a god' makes
a fine climax, esp. as followed at once by 'this quint-
essence of dust'; 'how like an angel in apprehension'
recalls 'with wings as swift/As meditation or the thoughts
of love' (1. 5. 29—30); while 'how infinite in faculties,
in form and moving' may be paraphrased 'how
infinitely varied in his bodily powers: in sight, hearing
and other qualities of sense (cf. "the very faculties of
eyes and ears" 2. 2. 569); in facial expression and
gesture (cf. "his whole function suiting/With forms to
his conceit" 2.2.5 59—60); and in the motion and activity
of his body.' The traditional (F1) rendering, on the
other hand, involves two grave difficulties: (i) To a
thinking Eliz. angels were discarnate spirits whose only
form of action was 'apprehension' (cf. Aquinas, Summa,
i. 50-8). To make Ham. compare human action to that
of an angel is, therefore, to make him talk nonsense.
(ii) The epithet 'express' goes so awkwardly with 'form
and moving' that N.E.D. has had to devise a nonce-use,
i.e. 'well framed' or 'modelled' to explain it; whereas
its ordinary meaning, i.e. 'direct and purposive' is
exactly suited to 'action.' MSH. pp. 210-14.
307. piece of work = masterpiece, work of art. v. G.
'piece.'
308. faculties (Q2) Fi 'faculty. 1
323-29. He that plays the King etc. Ham.'s retort
to Ros.'s talk of 'lenten entertainment.' The stock
dramatic types of the age are glanced at, each in ironical
fashion. As Sh. is reputed to have 'played some kingly
parts' himself there may be 'a sly undercurrent of
allusion' in the opening words (v. Sh. Eng. ii. 248).
325. foil and target i.e. for stage-fights, which were
frequent in Eliz. drama, v. G. 'foil'; cf. L. B. Wright,
Stage Duelling etc. (M.L.R. xxii. 265 £ ) .
325-27. the Lover.. .peace i.e. I will applaud the
sighs of the Lover and not interrupt the sallies of the